Top shows to see during Art Basel in Miami Beach

Our pick of exhibitions at museums in and around Miami
by Gabriella Angeleti, Aimee Dawson, Victoria Stapley-Brown, Pac Pobric, José da Silva  |  29 November 2015
(via The Art Newspaper)


Anselm Kiefer: Paintings, Sculpture and Installation, until 30 April 2016, Margulies Collection at the Warehouse

Anselm Kiefer’s work, which often refers to Germany’s Nazi past, has been accused of glossing over that history. Katherine Hinds, the long-time curator of Martin Margulies’s private collection, says visitors to its Miami show have felt differently. “All I can tell you is that audiences find it a very powerful exhibition onto which they can project and through which they can think about the loss of humanity throughout the 20th century,” she says. Kiefer’s show is being put to good use: all admission fees for the Margulies Collection ($10 for adults, $5 for students and free for students from the State of Florida) goes directly to the Lotus House Shelter for homeless women and children in Miami. P.P.

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Emphasis is on the Americas at this year’s Art Basel in Miami Beach

2015 edition has more art from the Midwest to Mexico
by Melanie Gerlis  |  26 November 2015
(via The Art Newspaper)

For its 14th edition, Art Basel in Miami Beach (3-6 December) is emphasising its “Americas” credentials, encompassing the length and breadth of its vast home turf. Noah Horowitz, who in July was poached fr om directing New York’s Armory Show to fill Art Basel’s new position of director Americas, defines the region he represents as “from Canada to South America”.

The subtle shift seems to be reflected in the varied list of newcomers to this year’s edition. Of the 11 new galleries from the Americas, relatively few (five) are New Yorkers. Three come from Los Angeles: François Ghebaly and Thomas Duncan in the Positions section and Hannah Hoffman in the Nova section, with a booth dedicated to new works by the Los Angeles artist Matt Sheridan Smith. Others come from San Francisco (Jenkins Johnson in the Survey section), Curitiba in Brazil (Sim Galleria in Positions with the local artist Romy Pocztaruk) and Mexico City (Arredondo\ Arozarena in Positions with the Mexican artist Fritzia Irizar).

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Guerrilla Girls take aim at ‘cartels of collectors’

Feminist art activists plan “anti-billionaire” campaign to highlight discrimination, which kicks off in Minneapolis
by Rachel Corbett  |  18 November 2015
(via The Artnewspaper)

Billionaires are the target of a new campaign by the feminist activist group Guerrilla Girls. “Cartels of collectors get behind the work of a few sel ected artists; galleries are paying for exhibitions of their artists at museums; and art fairs are showing the same bankable work over and over,” they told us in an email statement.

The anonymous group turned 30 this year, and is still raising hell in its fight against art-world discrimination. It plans to “take over” Minneapolis-St Paul next year with an “anti-billionaire” campaign. The group says we should expect more “stealth projections” like the one displayed on the side of the Whitney Museum of American Art in May that read: “Dear art collector: art is sooo expensive, even for billionaires! We totally get why you can’t pay all your employees a living wage #poorlittlebillionaires.”

The campaign is part of the Guerrilla Girls Twin Cities Takeover, which includes a week-long festival, from 29 February to 6 March 2016, bringing together more than 20 local institutions. These include the city’s Walker Art Center, which will display protest posters created by the Guerrilla Girls between 1985 and 2012. (The museum bought a portfolio of 88 posters earlier this year.)

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Aufführung mit Drohnen

by Eva Clausen
(via Handelsblatt)

Die Artissima in Turin ist zwar eine Messe und damit dem Markt verpflichtet. Zugleich zeichnet die Verkaufsplattform für zeitgenössische Kunst jedoch ein eindringliches Spiegelbild gesellschaftlicher Befindlichkeiten. Das gilt namentlich für das inzwischen etablierte Performanceprogramm.

Turin. Wer an diesem Wochenende die Turiner Kunstmesse „Artissima“ besucht, sollte, bevor er den Lageplan der Kojen studiert, einen Blick auf den „Bühnenplan“ werfen. Zwölf Performances stehen im Programm, und für viele der Darbietungen dürfte der vorgesehene Raum eingangs der Messehalle rechts im Zweifelsfall nicht genügen. Die Sektion „Per4M“ erfreute sich schon bei ihrer Premiere im vergangen Jahr großer Beliebtheit.

Am Freitag um 15 Uhr zeigt die Hamburger Künstlerin Annika Kahrs in ihrer bereits mehrfach aufgeführten Performance „Strings“, wie labil vermeintlich feste Strukturen sind. Vier Kammermusiker interpretieren das Streichquartett Opus 18, Nr. 4 C-Moll von Ludwig van Beethoven. Doch die anfängliche Harmonie findet bald ein Ende, denn nach jedem Satz lässt Kahrs die Musiker den Platz und das Instrument mit dem rechten Nachbarn tauschen. Mit jedem Platztausch wächst die Verunsicherung und mit ihr der Missklang. Das 8:20 Minuten lange Video einer früheren Strings-Performance kostet bei der Hamburger Produzentengalerie 13.000 Euro. Es ist das letzte Exemplar von fünf.

epodium artist Louisa Marie Summer at Space Debris (Istanbul)


Louisa Marie Summer „Sockeye (Red) Salmon“, Kijik River, Lake Clark, Alaska, 2015

Water Memory

October 1-25, 2015
Melis Bürsin, Sırma Doruk, Seyhan Musa, Bahar Yürükoğlu, Louisa Marie Summer

The exhibition Water Memory reflects upon the notion of memory and how it is formed through diverse lenses ranging from personal to collective ones, featuring digitized and manipulated versions of ourselves, and utilizing the lexicon of nature and human physique with corresponding sound elements.

The fourth century B.C.E. Greek philosopher Aristotle compared memorizing to making impressions in wax, and the belief that memories are copies of reality that a person stores and later retrieves has been widespread. In 21st century, we trust what our ‘smart’ gadgets store for us to ‘remember’ and to be ‘remembered’. In reality, much that is remembered captures the gist rather than the details of the original experiences, and we forget remembering is often a process of reconstruction, manipulated through the neural passages of our brain.

Space Debris is a multi-purpose art space founded by Seyhan Musaoglu in New York, USA, and is now based in Karaköy, Istanbul. As a hub space for innovative dialogue with a collective soul, the aim is to gain recognition for interactive new media works and interdisciplinary subjects that challenge traditional boundaries.

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